Another piece of Debussy juvenilia, for which I seem to have a sweet tooth. This one is rather popular here, four recordings already, but I hope this one can hold its own. It's the slowest one so far - none the worse for it hopefully

Hi Chris,I listened to your recording. I like the tempo you chose for this piece, I listened to Marcus and Charlotte’s versions and I agree your metronome pulse is much slower in comparison. I don’t know if this is the reverb you usually use, whatever the case, it gives this reverie a slightly spacey feel, like it was recorded in a large space, it seems appropriate. The diminuendo ending has the effect of gradually leaving a dream world, which is nice. For criticism, I would have liked to hear a longer pause between the threshold of the old and new section, around 1:36-1:37. Overall, nice rendition.

~Riley

_________________"I don't know what music is, but I know it when I hear it." - Alan SchuylerRiley Tucker

Another piece of Debussy juvenilia, for which I seem to have a sweet tooth. This one is rather popular here, four recordings already, but I hope this one can hold its own. It's the slowest one so far - none the worse for it hopefully

This is a lovely performance of a classic. I must say, if it the slowest on PS to date then the others must be positively racing. (I haven't listened to the others yet.) I can't imagine this piece at any faster tempo. Your tempo is right about where I have always felt it.

I would like to hear more delicacy on the PP at measure 19. It could be the nature of the recording, but I don't hear much contrast in either volume or tone color. Also, I would like to hear the "chorale" section a little less "impatient" the first time.

For criticism, I would have liked to hear a longer pause between the threshold of the old and new section, around 1:36-1:37.

Yes that could have been an option. It did not occur to me.

RSPIll wrote:

I would like to hear more delicacy on the PP at measure 19. It could be the nature of the recording, but I don't hear much contrast in either volume or tone color.

Indeed it does not come in especially pp. I guess I got a bit carried away there...

RSPIll wrote:

Also, I would like to hear the "chorale" section a little less "impatient" the first time.

Funny, I'd never thought of this as a chorale section, probably because it's so short, and the triplets are out of character (pure Grieg there, IMO). Had I done, I'd taken it slower indeed. The re-statement just before the end is ok though, I think.

Yes, at first it seemed slower than most versions, but it holds together very nicely and I am all for it. I liked the piece and the way you play it. Apart from the Nocturne and the other piece you recorded the other day (posted together) I feel early Debussy is far more enjoyable than the "real" Debussy everyone raves about. You hear echoes of Tchaikovsky, I gather. Funny, I do not, but what you say makes sense: after all, Debussy was in Russia for 3 consecutive summers working as a pianist for Nadezhda von Meck, Tchaikovsky's patroness. I have noticed that the Ballade, that you have also recorded, is mentioned in some sources as the "Ballade Slave".

_________________Richard Willmer"Please do not shoot the pianistHe is doing his best."Oscar Wilde: Impressions of America: Leadville

Nice performance. I've not listened to the other recordings on the site, but why would one rush a reverie? The end is particularly fine. Some of the treble sounds slightly odd in tone to my ears (particularly a bit after halfway through), not sure whether this would be a reverb thing?

Debussy is one of my favorites. I hope to get the piano tuned so I can record the arabesque at some point. Hope to do some recording while I have time to play for just myself for a while. I like playing this piece, as well. I haven't really developed an ear for listening to people yet and being able to give great suggestions, but hope to practice that this summer as well. It was nicely done.

Apart from the Nocturne and the other piece you recorded the other day (posted together) I feel early Debussy is far more enjoyable than the "real" Debussy everyone raves about.

I think so sometimes, too. Certainly for an amateur, early D. is easier to connect to (and easier to play) than mature D. However yesterday I happened to hear on the radio (while sanding and painting windows in the shed, near killing myself with dust and fumes) the complete first set of Preludes. I was sure it was Hamelin playing but it turned out to be Kristian Zimmerman. In the right hands, played razor-sharp like this, this music bowled be over once more. So nothing bad about mature Debussy - it's just harder

richard66 wrote:

You hear echoes of Tchaikovsky, I gather. Funny, I do not, but what you say makes sense: after all, Debussy was in Russia for 3 consecutive summers working as a pianist for Nadezhda von Meck, Tchaikovsky's patroness. I have noticed that the Ballade, that you have also recorded, is mentioned in some sources as the "Ballade Slave".

I'm sure he was exposed to T's music at that time, and influenced by it. It is Grieg that I hear more often though. I think his quip about being so influenced by Grieg was not meant wholly sarcastically.

andrew wrote:

Nice performance. I've not listened to the other recordings on the site, but why would one rush a reverie? The end is particularly fine. Some of the treble sounds slightly odd in tone to my ears (particularly a bit after halfway through), not sure whether this would be a reverb thing?

I must admit I had to fiddle with the ending... My first version was fine, but just as the closing chord was dying away my wife and daughter returned from shopping and made some ruckus. When dust had settled I had to redo the closing bar but it turned out louder than before and I had to decrease the volume afterwards.There could be some dodgy tones, the grand is due for a tuning (although irt's held up very well this time, finally) and also I've asked about voicing the hammers , because the tone has gotten a little metallic.

Hi Chris, I liked this recording very much. Concerning the tempo I could not imagine this piece played any faster. I don't have the score now, so I'm not sure your articulation is played in the way marked in the score or in your own interpretation: At the repeat of the first section (just before the ending) the theme played by RH sounds like "marcato". To my ear it was like awakening from the dream

_________________Hye-Jin Lee"The love for music. The respect for the composer. The desire to express something that reaches and moves the listener." (Montserrat Caballé about her main motivation for becoming a singer)

Apart from the Nocturne and the other piece you recorded the other day (posted together) I feel early Debussy is far more enjoyable than the "real" Debussy everyone raves about.

I think so sometimes, too. Certainly for an amateur, early D. is easier to connect to (and easier to play) than mature D. However yesterday I happened to hear on the radio (while sanding and painting windows in the shed, near killing myself with dust and fumes) the complete first set of Preludes. I was sure it was Hamelin playing but it turned out to be Kristian Zimmerman. In the right hands, played razor-sharp like this, this music bowled be over once more. So nothing bad about mature Debussy - it's just harder

Give me early any day, even if played by the best pianist in the world!

techneut wrote:

I must admit I had to fiddle with the ending... My first version was fine, but just as the closing chord was dying away my wife and daughter returned from shopping and made some ruckus. When dust had settled I had to redo the closing bar but it turned out louder than before and I had to decrease the volume afterwards.

Same here: the very same thing happened on Monday, except that the bane of my existence (Yes, a workman!) came along right after and I could not even finish my recording, so I turned the computer on to edit what I had done. Zaz! He hit the electric cable with his chisel and the computer exploded following the power surge and even the hard disk was badly damaged.

Count yourself lucky!

_________________Richard Willmer"Please do not shoot the pianistHe is doing his best."Oscar Wilde: Impressions of America: Leadville

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